February 28, :30 a.m. Welcome: Sang-Hyop Lee and Edward J. Shultz. 9:40 a.m. Hawaiian Performance and Literature

Transcription

1 February 28, :30 a.m. Welcome: Sang-Hyop Lee and Edward J. Shultz 9:40 a.m. Hawaiian Performance and Literature Edward J. Shultz Michael Pili Pang Travis Kaululā au Thompson Literature in ancient Hawai i was performed through oli, or chant, and through hula, or dance. Hula was considered in the sacred realm and was the vehicle of the mele (poetry) that served as society s mo ōlelo, its oral history and literature that was passed down generations to sustain and temper a growing society. Hula is of two distinctive types: kahiko, or ancient hula, and auana, or modern hula. Both serve the same purpose of being vehicles of a sophisticated storytelling that melds both literature and performance. 1:30p.m. P ansori and Dance Chan Eung Park P ansori is a storytelling tradition handed down from premodern Korea and is today a protected world heritage. As a field of study, it provides exciting insights into the musical sensibilities of early Korea and the national narratives of contemporary Korea. Chan Eung Park will discuss the genre here and perform the p ansori Sugungga in the March 1 evening program at Orvis Auditorium. Peggy Choy Peggy Choy is a teacher, performer, and choreographer whose works center on struggles for self-determination and social justice. She will discuss her work here and perform two of her pieces, Comfort Woman and Wild Rice in the March 1 evening program at Orvis Auditorium.

2 March 1, :30 a.m. Sijo David McCann Ivanna Yi Sijo is a Korean-language verse form, a counterpart of the Japanese haiku, which in its form and rhetorical structure compresses the classical Chinese quatrain its line-byline introduction, development, change in direction, and conclusion to three lines. A description of the Korean sijo and its cultural as well as musical performance dimensions will be explored. The session will include a chance to try writing in the sijo form. The session then turns to the theme of Making the Land Visible: Korean and Native American Oral Traditions and the Environment and exploring how poetry invokes and engages the natural environment in Korean and in Native American practices. 1:30 p.m. T alch um (Masked Dance) Heo Chang-Yeol Judy Van Zile Bonnie Kim T alch um, literally masked dance, embraces multiple modes of presentation: spoken and sung monologue and dialogue, movement, music, improvisation, costumes, masks, and audience/performer interaction. Although there is narrative story content in some performed scenes, it is generally believed that originally there were no written scripts. The t alch um session explores the movement dimension of this genre and suggests that t alch um includes a kind of text that is written on the body, one that is kinetic and visual rather than verbal.

3 March 1, :30 p.m. Orvis Auditorium University of Hawai i at Mānoa PROGRAM Oli Travis Kaululā au Thompson Remembrance in Honor of Marshall Pihl David McCann and Edward J. Shultz P ansori Sugungga (Song of the Water Palace) Chan Eung Park Two Dances Comfort Woman (Jongshindae) Wild Rice Peggy Choy Sijo David McCann and Ivanna Yi T alch um (Masked Dance) Mundunggi Puk Ch um (Drum Dance of the Leper) Kibon (Exercise Dance) Heo Chang-Yeol

4 NOTES ON THE PROGRAM Oli Oli is a Hawaiian chant, of which there are two large categories, mele oli and mele hula. Mele oli are ususally performed by one person with no accompanying musical instruments. Mele hula are chants accompanied by dance or musical instruments, often performed by a group. Within these categories there are many kinds of chants for specific occasions and purposes. P ansori P ansori is a storytelling tradition handed down from premodern Korea and is today a protected world heritage. As a field of study, it provides exciting insights into the musical sensibilities of early Korea and the national narratives of contemporary Korea. Two dances Comfort Woman (Jongshindae) addresses the unresolved controversy of sexual slavery by the Japanese military in World War II, which involved girls and women from Korea, China, Taiwan, Indonesia, Singapore, the Philippines and the Netherlands. Wild Rice is a dance about mining near Wisconsin s Bad River that would pollute the water and destroy wild rice that is central to the spiritual and cultural life of the Ojibwe first-nation people. Sijo Sijo is a Korean-language verse form, a counterpart to the Japanese haiku, which in its form and rhetorical structure compresses the classical Chinese quatrain its line-by-line introduction, development, change in direction, and conclusion to three lines. T alch um T alch um, literally masked dance, embraces multiple modes of presentation: spoken and sung monologue and dialogue, movement, music, improvisation, costumes, masks, and audience/performer interaction. Although there is narrative story content in some performed scenes, it is generally believed that originally there were no written scripts. Mundunggi Puk Ch um is from the Kosŏng Ogwangdae form of t alch um.

5 Participants Peggy Choy Associate Professor of Dance, University of Wisconsin, Madison Heo Chang-Yeol Certified Kosŏng Ogwangdae Teacher; Kosŏng Ogwangdae Lecturer, Korea National University of the Arts Bonnie Kim Freelance artist David McCann Korea Foundation Professor of Korean Literature Emeritus, Harvard University Gary Pak Professor of English, University of Hawai i at Mānoa Michael Pili Pang Lecturer, University of Hawai i at Mānoa Chan Eung Park Professor of Korean Literature and Performance, The Ohio State University Travis Kaululā au Thompson Freelance performer Edward J. Shultz Professor Emeritus, University of Hawai i at Mānoa Ivanna Yi E.A.L.C. Ph.D. Candidate, Harvard University Judy Van Zile Professor Emerita of Dance, University of Hawai i at Mānoa acknowledgements OUEL, USA, Inc.